Franz Liszt - A Critical Discography

[San Antone]

Sounds interesting!

Loads of good stuff in each set. Good luck with the choice.

Good question. My only complete is set Cziffra's first stereo set from 1957-58 and it's a definite barn-burner. My interest in another set is mainly for something in more up-to-date sonics. Not that the Cziffra is sonically bad - it's quite good, actually. So might be a worthwhile venture, might not.




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I didn't think Cziffra recorded all 19 - he left out 4 or 5 I think.  But you're right, it's a fiery set; I have it in the five disc box.

[Karl Henning]

So, the Hungarian Rhapsodies. Primo Liszt. What are everyone's favorite recordings?

Jando.

Jandó Jenő's was the first set which made me love the entire set of Rhapsodies, so he is perforce first on my lis(z)t, as well.  Now, I add both Artur Pizarro & Cziffra György.

[Karl Henning]

I didn't think Cziffra recorded all 19 - he left out 4 or 5 I think.

You must be right!  In my defense, I've not yet finished my first cup of tea for the day . . . .

[Karl Henning]

I checked my notes and two more names appear: Roberto Szidon and Misha Dichter.  Both have received good reviews but Szidon's might be the set to try first.

FWIW, Szidon's was the first recording I had, and it didn't win me over.  But, my ears may have been odd back at that time . . . .

[San Antone]

FWIW, Szidon's was the first recording I had, and it didn't win me over.  But, my ears may have been odd back at that time . . . .

I haven't heard Szidon's set and he's not everyone's pick; but then, none of them are.      There does not seem to be one set that everyone agrees is the best.  Michele Campanella has recorded a full set, but I've seen at least one disparaging review.  Mostly there are more good choices for semi-complete sets, like Cziffra.

[San Antone]

Marylin Frascone
Integral Classic INT 221.1678 / MRL/XCP 7000 (2001)
A very reverberant acoustic clouds some of the clarity of Frascone's passagework, but this is a very strong performance. 

The Gradioso has nobility which suits the music perfectly, and the Cantando espressivo is done tenderly with a yearning quality that is very convincing.  I would have preferred for the Quasi adagio to have been more expansive, there was just the slightest sense that she pushed a couple of the bigger phrases that could have been more effective had she given them more breathing room.  Frascone takes the fugue at a spritely tempo and does not back off when the energico section arrives.  The Piu mosso gets even bigger leading into the Cantando section. 

Pairing the Liszt work with Ravel's Gaspard de La Nuit is a huge plus in my book.

[San Antone]

Marian Migdal
EMI/HMV 061-34346 (Suède) (1975)
Swedish Society Discofil SLT 33268 (1984)
Marian Migdal, born in Poland, his piano studies began in Warsaw. After emigrating in 1964, he studied with Hans Leygraf in Stockholm, then with Bruno Seidlhofer in Cologne and finally at Ania Dorfman at the Juilliard School of Music in New York. There he received his concert diploma in 1973 at the same time the LOEB AWARD as the highest honor for outstanding piano playing.  1971 Marian Migdal won the International Piano Competition of broadcasters (ARD) in Munich, two years later the International Schumann Competition in New York. His concert tours have taken him since then by the United States, Europe and Asia.

I listened to the 1975 EMI/HMV recording.  Very dry acoustic and close-miked engineering do not provide Migdal with a pleasant environment, but, his technical proficiency is obvious.  What has become disturbingly plain after listening to over 235 available recordings is that there are dozens of very good performances of the Liszt sonata which have gone missing since the digital era. Few of these recordings have made it to disc, which is our loss.  Migdal's 1976 recording is an example: a very good performance that you simply can't find other than on YouTube.  His 1984 recording is not even available in that manner.  I would love to hear the later recording, since the one from 1976 shows him to have the necessary technical skills to bring the work off without a problem. The more mature musical approach might represent an improvement over an already strong performance, and more importantly it in all likelihood capture his playing in better recorded sound.

[San Antone]

Rafael Orozco
Philips 6500 432 (1972)
Valois V4643 (1991)
Rafael Orozco came from a musical family in Córdoba and studied with José Cubiles, Alexis Weissenberg and Maria Curcio, the last and favourite pupil of Artur Schnabel His professional career began after he won first prize in the 1966 Leeds International Piano Competition in the UK.  His large repertoire included works by Franz Liszt, Franz Schubert, Manuel de Falla, Sergei Rachmaninoff and Isaac Albéniz. He gave recitals on five continents and participated as soloist with the world's great orchestras, including Cleveland, Chicago, New York, Philadelphia, Los Angeles, Berlin, Vienna, Paris, and London. Orozco also participated in music festivals at Osaka, Praga, Berlin, Santander, Edimburg, Spoleto, and Aldeburgh.

It is a real shame that this recording from 1972 was never transferred from LP to CD because it is truly one of the great recordings.  Orozco plays with fire and technical brilliance but sadly his early recording of the Liszt sonata has disappeared from the catalog.  Orozco's life was short, from 1946-1996, and as a younger contemporary of Martha Argerich they must have known each other. With Argerich hailing from Argentina and Orozco from Columbia, they would have been seen as two young lions of the concert stage from South America.  Their playing is also very much alike: both possessed a huge technique but always employed in service to the music. 

Orozco's recording of the Liszt sonata came one year after Argerich's, when he was 5 years younger but his is of the same caliber.  His was the 240th recording of the Liszt sonata I have listened to.  There were so many good to very good recordings that, because of the sheer volume couldn't crack the top 50 that I had grown to doubt I'd discover a recording to challenge one of the top ten recordings.  But that is exactly what has happened, and one by a largely forgotten pianist.  Orozco's is that good.

[Dancing Divertimentian]

I didn't think Cziffra recorded all 19 - he left out 4 or 5 I think.  But you're right, it's a fiery set; I have it in the five disc box.

Ah, that's correct. Odd. I wonder why he omitted the last four?

[Holden]

My first complete set was Szidon and I really liked it until........I heard Cziffra!

I also have a set of the HR on LP which has never made it to CD which is unfortunate. They are by that great Liszt interpeter Louis Kentner and while they don't display the firs and brimstone of the Cziffra they have much to say about how to play these works. I got a company to transcribe these onto CD for me but the results weren't great.

Here is an example of his playing

https://www.youtube.com/watch?v=EPozXy31YKY

There are other HRs by Kentner on Youtube

[San Antone]

My first complete set was Szidon and I really liked it until........I heard Cziffra!

I also have a set of the HR on LP which has never made it to CD which is unfortunate. They are by that great Liszt interpeter Louis Kentner and while they don't display the firs and brimstone of the Cziffra they have much to say about how to play these works. I got a company to transcribe these onto CD for me but the results weren't great.

Here is an example of his playing

https://www.youtube.com/watch?v=EPozXy31YKY

There are other HRs by Kentner on Youtube

I agree about Kentner, here's what I wrote about his recording of the B minor sonata:

There is a majesty to Kentner's playing that is rarely heard, a sound which hearkens back to the great age of virtuoso pianists.  A fantastic performance, I only wish it had been captured in better sound.  Bryce Morrison, writing in Gramophone in a review of another Liszt recital by Kentner, put it this way, "This glorious recital is a timely reminder of Louis Kentner's greatness, his richness and enterprise during his heyday. Here is playing which in its life-affirming sweep and opulence makes accusations concerning Liszt's theatricality doubly misleading. What expansiveness, what true molto espressivo Kentner achieves in the Second Hungarian Rhapsody, what poetic warmth and freedom in the more heartfelt, soaring melodies of the First Polonaise and Second Ballade." 

[San Antone]

I am finally finished listening to all of the sonata recordings I could find wihtout too much trouble or expense (actually, there's a few I could still buy, but won't) - all told, I've listened to 250 recordings.  I am now going to attach images to each entry in the discography and do a read through for typos and editing.

This has been a rewarding exercise, and one I plan on repeating for other works - but will take a break for more casual listening.

[bluemooze]

I am finally finished listening to all of the sonata recordings I could find wihtout too much trouble or expense (actually, there's a few I could still buy, but won't) - all told, I've listened to 250 recordings.  I am now going to attach images to each entry in the discography and do a read through for typos and editing.

This has been a rewarding exercise, and one I plan on repeating for other works - but will take a break for more casual listening.

A wonderful thread.  Thanks so much.   

[Karl Henning]

Again, I applaud you!

[Holden]

But surely now we turn our attention to other works. The Transcendental Etudes would be a good place to start with some wonderful performances out there

[San Antone]

But surely now we turn our attention to other works. The Transcendental Etudes would be a good place to start with some wonderful performances out there

I've thought the etudes would be a good next project.  Contrary to the Hungarian Rhapsodies, they are often recorded complete, and arguably conceived as a large work, again, unlike the HR.  I know Arrau's set has been praised and I heard Alice Sara Ott's recording which impressed me - but what sets do you like?

[Dancing Divertimentian]

I've thought the etudes would be a good next project.  Contrary to the Hungarian Rhapsodies, they are often recorded complete, and arguably conceived as a large work, again, unlike the HR.  I know Arrau's set has been praised and I heard Alice Sara Ott's recording which impressed me - but what sets do you like?

I actually have Arrau's set but I can't think of another disc that's been given decent press that I dislike more. It's cautious, pale, and far from "transcendent".

Most impressive for me is Laszlo Simon on BIS. Great sound and dazzling in all the right ways.




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[San Antone]

I actually have Arrau's set but I can't think of another disc that's been given decent press that I dislike more. It's cautious, pale, and far from "transcendent".

Most impressive for me is Laszlo Simon on BIS. Great sound and dazzling in all the right ways.




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I felt Arrau's sonata recording did not live up to the reputation, same feeling about being too reserved. He did wait until late in life to record the sonata, not sure about the etudes.  But I haven't listened to them just relying on reviews.  I'll try to put together a list of recordings and start on a listening campaign after a break.  I am still putting the final touches on the sonata discog  texts and will be putting that material up on my blog, and in limited form here, later this week.

Thanks for your Laszlo Simon recommendation; a new name to me.

[Holden]

Conversely, I really like the Arrau set with one of the best Harmonies du Soir I've ever heard. Then of course there is Cziffra. The other two I recommend are Ovchinnikov and Kemal Gekic if you can get it. Haven't heard the Laszlo Simon.

[Dancing Divertimentian]

Conversely, I really like the Arrau set with one of the best Harmonies du Soir I've ever heard. Then of course there is Cziffra. The other two I recommend are Ovchinnikov and Kemal Gekic if you can get it. Haven't heard the Laszlo Simon.

Second the Ovchinnikov. He's on the extrovert side, with plenty of fireworks. I haven't heard Cziffra (complete) excepting for a few extracts of various provenances.

Another one I have is Bolet's first recording from 1970. It's a complete 180º from Simon or Ovchinnikov. Sparkle and introspection are the name of the game, yet not lacking charisma. This one too gave me problems at first but later I grew to love it. Something to look forward to with Arrau, perhaps.